Repulsion – A Roman Polanski Film. Fourth Review in The Haunted Apartment Series

WARNING: If you have a “Repulsion” about spoilers, then avoid this article!

Repulsion4

 

Welcome back as I continue with my summer theme of horror films/literature that take place within apartment buildings. In case you have forgotten, it all started with this article – Beyond the House: An Examination of Hauntings Within Alternate Structures. Part 2 – Apartment Buildings. I wrote that piece at the beginning of the season. And though summer is on its last legs, I carry on within the fictional confines of sweltering,  terror-ridden, and psychosis- inducing living spaces that challenge its occupants with a petrifying dose of the unreal. Or maybe, what they encounter is far too real – a dark revelation into the disturbances of their minds. This is certainly true for Carol Ledoux, the disturbed protagonist in the film that is the subject of this article. But let me back up for a second. Summer is a season that beckons us to the great outdoors. And here I am, writing about a suffocating indoor environment. Perhaps you find the subject untimely and therefore offensive, revolting, disgusting, loathsome and even….repulsive. If so, you share the sentiments of Carol, who in trapped in the inner-recesses of her mind, uncomfortable with the mysteries that lurk within the claustrophobic rooms of her psyche. And yet, the film Repulsion, directed and co-written by Roman Polanski, presents viewers with Carol’s paradox – she feels safe inside her mind, safe inside her apartment with its barricaded doors. Well, she is never at ease, but the apartment will at least protect her from the threats that lurk on the street, unless….these threats find their way inside her, and awaken her from a dreamlike trance for which she is not prepared to abandon. So readers, a haunted apartment can provide some solace, even in the good ol’ sunny summertime. Trust me as I take you on a tour of Carol’s apartment, a tour of her mad, mad mind, a mind that will produce horrifying hallucinations and drive her to kill people.

So, what the hell is wrong with Carol? In short, she fears her own sexuality. She mistrusts her own desires and therefore she avoids sexual encounters and repels the advances of men. In short, she finds the subject of sex “repulsive”. In a New York Times article, reviewer David Kehr points out how Carol envies the nuns she watches from her apartment window, for they are free from “the burden of sexuality.” It should noted, that Carol does not seem to be asexual, nor does she seem to be repressing any desires directed toward the same sex. (She dons lipstick to make herself attractive for a fantasy/nightmare sexual partner/rapist. More on this later) Rather, she fears “sexuality” in and of itself and all of its mystery. Kim Morgan, writing for The Huffington Post, sums it up this way:

Carol is the personification of sexual mystery — she is what lurks beneath the orgasms of pleasure and pain

Churned inside a kind of fire that enflames the rawest elements of sexuality, its no wonder she is a psychotic mess.

Most of the drama and inner-conflict play out in that apartment she resides in (in truth it’s her sister’s apartment). It is the very first film in what has become known as Polanski’s Apartment Trilogy. However, the first film of the trilogy that I reviewed is Rosemary’s Baby (Click on the link to read that review). In that review, I state what all three films have in common. And that is this:

  1. They detail the unfolding psychosis of a central character.
  2. They blur the protagonist’s perception of reality
  3. They feature an oppressive apartment setting that further augments the madness of the main character

Let’s hone in on the third point. The apartment certainly stands for everything that point expresses, and much more. The apartment symbolizes her own “fragile, egg-shell mind” (Thanks Jim Morrison for coining that term!). As everyone knows, eggs easily crack. And cracks do appear on the walls of the apartment, cracking before her stunned eyes. Carol is cracking. And the stuff of her desires and fears are seeping in.

Carol is from Belgium, but she is living in her sister Helen’s apartment in London. She is very attractive, but painfully shy and soft-spoken. Helen is sexually active and Carol is uncomfortable with this. She is “repulsed” by the loud sexual activity she is forced to listen to while she unsuccessfully tries to sleep at night. She hates it that Helen’s gentleman friend leaves his bathroom accessories behind, placed so close to her personal items.

Shot skillfully in black and white, the camera often follows Carol as she proceeds to and from work. Her first walk is accompanied by a mellow jazz tune. As the film progresses, the background music that accompanies these walks becomes frenetic. Sometimes it is the wild music of experimental jazz. Sometimes it’s the peculiar sounds made from a three-man marching band that panhandles on the streets. Often when she is alone, like when the camera stays with her on the elevator ride up to her sister’s apartment, the music is soft and simple – a few notes on the piano or flute. It’s childlike, but in an eerie way. I am reminded of the openings of many Syd Barrett composed Pink Floyd songs before the psychedelic music kicks in. This is the music of a person retreating to their shell; regressing into a protective womb. Out on the streets, men make passes at her. A suitor follows her, strikes up conversations with her. The music is untamed as the men crack away at her shell.

Helen is planning on leaving her sister alone for two weeks. She and her boyfriend are traveling to Italy. Carol begs her not to go, but to no avail. So she is left alone to confront her awakening. See, throughout the film, Carol is in a near-catatonic state. It as if she has been sleeping and is trying her damnest not to wake up. She fears the pain of sexual awakening. And she must face this awakening, alone, without her sister. As a symbol for Repulsion3her vulnerability, there is the dead, skinned rabbit. Helen meant to cook this for her boyfriend before they departed for their vacation. She skinned the rabbit and was all set to boil it, but the boyfriend insisted on taking her out to dinner instead. When Helen leaves for Italy, the rabbit sits there on the counter, drawing flies. It is a sickening sight. The rabbit is like Carol, who has been stripped of her protective layers. Helen has abandoned both. The skinned rabbit is an unsightly thing. And the things Carol will succumb to – these things are unsightly as well. Enter the horror!

A brute of a man begins to rape Carol in her bedroom at night. She first spots him in the reflection of the mirror. She gasps, turns around, and sees no one in the room. Silly girl, he exists only in the reflection. He is she; her desires, her fears. Later, he forces his way into her bed. Forces himself on her. All the while, viewers of the film hear the sound of a clock ticking. Tick..tick..tick… then RING of the phone or DING DING DING of the train outside the window. These “rings and dings” cry out in the morning, when the scene is over. She always wakes up alone.

Carol misses work for several days. She seems determined not to leave the apartment. Meanwhile, cracks sprout in the walls. The hallway walls turn into a viscous substance from which hands reach out to touch her as she desperately tries to make her way Repulsion2through the corridor. Things are breaking in. Her shell is cracking. She is cracking. Carol has two male visitors while she is alone. One is the suitor, who wants to know why she keeps avoiding him. The other is the sleazy landlord who comes looking for the rent money. But as it turns out, he wants her instead. Carol takes care of both of them. She kills them! She is repulsed so much by those that force her to confront her sexuality that she has to murder them. But before going to bed at night, she dons make-up and makes her self attractive for the phantom that haunts her bed. The poor, confused girl. So torn, so…cracked. But at least she is able to hum sweetly after kills each man. Temporary moments of peace when her dissonance is temporarily resolved.

Though brutal and unsettling, this film smack of genius. According to Wikipedia, reviewer Jim Emerson places this film in a list of “102 films to see before…”(before you die? Before something.) From the patient camera and spot-on audio to the brilliant performances, this simple and relatively low budget film succeeds in every way that a film can succeed.

One more film will complete Polanski’s apartment trilogy. The final film, both in order of release and here at this blog, is The Tenant. Polanski himself stars in the film. He is the disturbed tenant. Hopefully I will have this review completed within a week or so. Until then, I bid you farewell. To my apartment dwelling friends, enjoy your living space. But please don’t confuse it was the dark recesses of your mind. This will only haunt the place, and the consequences can be deadly.

 

 

 

 

 

 

The Guardian by Jeffrey Konvitz -Third Review in The Haunted Apartment Series

TheGuardian2CoverHowdy folks! The last time I posted, I expressed my concern for all you apartment dwellers without air-conditioning that might be scorching  in the summer heat. My concern continues; I’m an empathetic kind of guy! This empathy extends to people that have to deal with other nuisances of apartment living, including rats and cockroaches, loud neighbors, and…the Forces of Hell! That’s right readers, I feel for Author Jeffrey Konvitz’s apartment-dwelling characters that have to contend with the hellish spirits that were unleashed from his mind and onto the pages of two of his books. (Warning: Spoilers from The Sentinel are up ahead!)  These are the same evil forces that were kept at bay by Father Halloran when he was The Sentinel. (A great book!) These forces are back again under the blind yet watchful eyes of Alison Parker, who has replaced Halloran as “The Guardian” (an equally great book!) of the gates of Hell. The last review focused on The Sentinel. This review will focus on The Guardian, a worthy sequel to Konvitz’s original masterpiece. Please stay with me, reader, as I welcome The Guardian into this summer’s theme: Haunted Apartments.

In my review of The Sentinel, I had linked to an upcoming podcast episode of Thorne and Cross’s weekly program  Haunted Nights Live. Every Thursday they interview a different horror author, and the guest in the episode that I had linked to was to be none other than Jeffrey Konvitz. Since then, the interview did happen and it went well. I’m hoping most of you followed the link and listened. If not, have no fear, for it is archived.

And…..here is the link – Thorne and Cross: Interview with Jeffrey Konvitz 

In the interview, Konvitz, an entertainment lawyer by trade, has several interesting  things to say about The Guardian. It is his favorite of the two books, but he does not express this favoritism in a boastful way. Quite the contrary! He is a down to earth kind of guy, and he had revisited his work after many years, having forgotten much of what he had written. Upon reading, he was saying to himself things like “Oh my God, did I TheGuardianKonvitzreally write this? How did I ever think up this part?” These aren’t exact quotes but the sentiments are accurate. While I agree that The Guardian is great, I like it just as much as The Sentinel. If only there was a third book to make this a trilogy. Well folks, Konvitz confirms in this interview that there is an outline for a third story. Hopefully one day this outline will blossom into a full-fledged novel. While I will not be dishing out the kind of spoilers as I did in my review of The Sentinel , I’ll say this about The Guardian – it ends with a major cliffhanger. When reading the last few paragraphs, I was like “Oh no he’d didn’t!” But Konvitz did it, and his “literary actions” left me wanting more!

So, let me say a thing or two about the story of The Guardian. Spoilers will be kept to a minimum (but there will be spoilers regarding The Sentinel). Also, unlike my review of the first novel, this article is not a juxtaposition between a book and movie. The Guardian has not been made into a film, unlike its predecessor.At least I don’t think it has. But if it were done right, I’m sure it would be a very good film.

The Guardian Synopsis (With spoilers from The Sentinel)

The setup is similar. There is an apartment complex in New York City. A strange blind nun sits at the window of the top floor apartment. The tenants all seem to be friendly with each other, and they gossip among themselves as to the nun’s situation. Those of us who have read The Sentinel understand her business. Us readers are one up on the tenants. Meanwhile, Monsignor Franchino is back, along with some priests that are new to the series. Through these characters, we discover that once again, it is time for a changing of the guard. There is to be a new sentinel. In the first book, readers didn’t know about any of this until the end. The mystery revolves around why the priest sits at the window, and why Alison’s neighbors are so strange.

In the beginning, readers don’t know that the neighbors are really hell bound souls and the don’t realize that, by the book’s end, Alison would assume the duties of the guard and prevent these souls from escaping the apartment and roaming free across the earth. But now, all this is old hat. The big question is – who among this fresh list of new characters will be the new sentinel? This question stokes the mystery; every character is suspect. Several characters are not what they seem. One is destined to be the new guardian. And, perhaps, there are other characters that just might be in league with the dark forces, willingly or unwillingly. Who are they? Read to find out.

Several characters from The Sentinel reprise their roles. When a detective investigates a shocking disturbance at this apartment, he calls on Detective Gatz, now retired, for help. In The Sentinel, Gatz tries his best to pin a murder on his nemesis Michael Farmer, former boyfriend of Alison Parker. As far as the outside world  is concerned, both Alison and Michael  had simply vanished after the events that take place in The Sentinel. They know not that Farmer has gone to Hell and that Alison assumed a new identity as a Holy Gaurdian. Gatz, however, suspects she that something else had gone down. Something unnatural. He’d rather not get mixed up in this case again. But he will find himself right back in the middle of it, to his misfortune.

As previously mentioned, Monsignor Franchino returns. As protector of The Guardian  and all the secrecy that surrounding that role, he has his work cut out for him. The stakes are higher this time. Things are more dangerous. In The Gaurdian , readers learn more about The Sentinel /Gaurdian  conspiracy. They learn of new players; for it takes many to protect it. Otherwise there will be hell to play. Literally. Can mere numbers counteract the forces of evil? One little slip and….


 

I think that’s all I’m going to say. Hopefully the info I provided is spoiler free. I had to reveal some details in order to keep things interesting. And interesting it is! My advice: Buy it tonight and discover just how interesting it is! You won’t be disappointed.

 

 

 

 

 

The Sentinel – Book Vs. Movie – Second Review in The Haunted Apartment Series

How is it going my apartment dwelling friends? This summer has certainly shed its warmth upon us. Here in Chicago, we have already had days of severe heat. (Note: At the time I wrote the beginning of this article, it was hot. I assume no responsibility for any unusually cool weather that may have transpired since then). I hope all of you have functional air conditioning, especially you folks in the upper-floor apartments. If not, I feel for you.  But know this – matters could be worse.  Sure, an apartment that is at the mercy of the heat index makes for some uncomfortable living conditions, but imagine if your cozy little abode was at the mercy of the souls bound to Hell!  These souls could tell you a thing or two about bearing conditions in an overheated environment, believe me!  Heat or no heat, an apartment haunted by the souls of the damned just doesn’t cut it when it comes to creating that “homey” experience. It gives a new meaning to an event called “the house warming party.”  Just ask Alison Parker. She is the protagonist in Jeffrey Konitz’s novel The Sentinel,  as well as Director Michael Winner’s movie of the same name. She can tell you what it’s like to live with such “hellish” neighbors.

Welcome to the second review of this summer’s theme: Haunted Apartments. The introductory article can be found here. As mentioned in the preceding paragraph, the subject of this article is The Sentinel, both the book and the film. Back in 2016, I wrote a review for the movie only. The article can be found here: The Sentinel –A Film Review. At the time of press (Hee Hee, I am using newspaper terminology for my Blog. Hee hee!), I had not yet read the book. That has changed. I have since learned that the book is better (which is not always the case), and it has helped to shed light on some of the confusing parts of the film. The film isn’t bad, by the way, but it’s “not great”. How does “good” sound? Goodish? I’ll explain later. Anyway, this article couldn’t be more timely, for on Thursday, June 28, Thorne and Cross (a two-person author team whose books I’ve reviewed) will interview Jeffery Konvitz on their weekly podcast called Haunted Nights Live. I’m looking forward to this interview and I’ll present more details on this later.

Let me outline this article for you. I shall begin with a plot summary. WARNING: THERE WILL BE SPOILERS! When it comes to analyzing, which goes beyond reviewing, spoilers are almost unavoidable. And…I will be analyzing, as well as comparing and contrasting the two mediums (book vs. film). Therefore I must delve into the weeds of the plot, including it’s hidden treasures (to tell you the truth, I have already revealed a spoiler: the neighbors = Hellbound souls. This isn’t apparent and the beginning of the story. OOOPS!) After the plot summary, I will present what I call “A Review of My Review.”  In addition to reading the book, I have revisited the film again. In fact, I have watched it twice since I wrote the initial review. Have things changed?  A little bit. I’ll explain as I revisit that review. Then, I will detail some of the major differences between the film and the novel and explain why the book is better.  After this juxtaposition, I’ll say a thing or two about the real apartment building that was used in the film.  Finally, I’ll present more details on that Konvitz interview, and wind things down with a joke or two. Sound good? But of course it does! So let’s get down to business!


PLOT SUMMARY

Alison Parker is a successful model in New York City. However, she has a lot of emotional baggage, and her ability to take care of herself is questioned by her boyfriend the lawyer, whose name is Michael Farmer in the book, but goes by Michael Lerman in the film.  He pressures her to marry him and insists that it would be best to let him take care of her. However, Alison is an independent woman and insists that she must live alone, at least for a while. She finds an apartment building that is surprisingly affordable. She is curious about the old man that continuously sits by the window of his top-floor apartment, staring out onto the streets below. The realtor tells her to pay him no mind. The man is a retired priest named Father Halloran. He is blind. The realtor suggests that he is senile. The Archdiocese of New York looks after him. But there is nothing to worry about. He is harmless.

Alison is a survivor of two suicide attempts. The first attempt occurs when she is a teen, shortly after she accidentally witnesses her father participating in an orgy with two prostitutes. The second occurs after the mysterious death of Farmer/Lerman’s wife. See, Alison’s relationship with him began as an affair. Supposedly, the wife took her own life, heartbroken over her husband’s affair. Feeling guilty , Alison had tried to take her life as well. These suicide attempts are important plot points regarding the resolution of this story.

Alison’s neighbors are flamboyant to say the least. There is Charles Chazen, who prances around with a bird on his shoulder. There are the two women who are lovers. One of these women openly masturbates in front of Alison. At the apartment complex, Alison attends a party for a cat. Mostly she is amused by all this (but not so with the masturbating woman), but she will not tolerate the noisy neighbors that live directly above her. In the middle of the night, they shuffle about, shaking the lamp that hangs from the ceiling above her bed. She visits the realtor to complain, only to find out that she has no neighbors aside from the blind priest. All the apartments she had visited are vacant.

Alison confides with Michael about this. In response, he hires a private detective to watch her. Meanwhile, Alison continues to hear noise coming from the upstairs. Possessed with the keys to the apartment above her (I forget how she came upon these keys), she enters the place and sees her dead, naked father running toward her. She stabs him. There is blood.

In reality, Alison had stabbed the detective (the film barely makes this clear), prompting an investigation from Detective Gatz. It turns out, Gatz and Farmer/Lerman are arch enemies. Gatz had investigated the suspicious circumstances surrounding the death of Farmer/Lerman’s first wife (remember I had used the word “supposedly” when I wrote that she had taken her life). He was convinced that Farmer/Lerman had her killed by hiring that private investigator as a hitman, the PI that was stabbed by Alison. But he failed to provide the proof. Gatz now has a second chance to pin a murder on Farmer/Lerman; the murder of the detective.

Meanwhile, Farmer/Lerman investigates the apartment complex that Alison lives in. He discovers that the Archdiocese of New York owns it. More compelling, he discovers, is that the Father Halloran, the priest that sits by the window, is a “sentinel”. He was never a priest. He was a man that had attempted suicide. To atone for that sin, he is forced to guard the gates of hell and prevent the souls of the damned, including Satan himself, from entering into our realm.

At midnight on a certain date, there is to be a changing of the sentinel. Halloran is to retire and Alison is to take his place, atoning for her sins (the suicide attempts). By the story’s end, Alison is surrounded by the souls of the damned. Michael Farmer/Lerman is among them. He perished at the hands of another priest who was protecting Halloran from Farmer/Lerman, who was trying to kill him. Farmer/Lerman is now bound to Hell, not only for his attempt on the life of the sentinel, but for the killing of his wife.

Led by Satan, who is Charles Chazen, the evil souls of hell try to get Alison to take her life. For, if at the time of the changing of the guard, they can convince the “sentinel-elect” to take his/her life, then Hell wins and the evil spirits can roam free into this world. But Alison accepts her duty. God wins, Hell Loses. At the story’s end, it is now Alison, that sits at the window, dressed in a nun’s garb, looking old and frail. She too is now blind.  This legion of sentinels and the ritual of the changing of the guard have been going on since the days of The Garden of Eden. All sentinels are people who have attempted suicide. Sentinel duty is a way for them to atone for attempting this grave sin.

(As a side note: the book mentions the first sentinels were angels that guarded the gates of The Garden of Eden. I can’t help but wonder, were they put on guard duty before or after Adam and Eve were evicted. If before, they didn’t do a good job keeping the Devil out. But it’s understandable. Satan came in the form of a snake. He could have slithered between the legs of the angels and under the gate while the angel/s were having a cigarette or something)

A REVIEW OF MY REVIEW

abandon-hope-all-ye-who-enter-hereDone

Wait! Come back! It’s okay for you to tread into this section of this article. This line is from “Inferno”, the first canticle of Dante’s three-part poem The Divine Comedy. (I have the Divine Comedy in hard cover, classic bound style. I started reading it. I should finish in about, oh..twenty years or so. I’ll keep you posted!). According to this fourteenth century epic, this is a warning posted at the gates of Hell. Michael Farmer/Lerman uncovers this inscription on a wall within the apartment complex, which was previously hidden behind a wooden panel or some kind of covering. Does this mean the apartment hides the gates to Hell? Yes and “mostly yes.”

In my first review, I placed this story under a category I define as “houses that serve as a portal to some other dimension.” The inscription Farmer/Lerman finds seems to justify this claim. While I argue my claim remains true, this matter in a bit more complex. Upon further reading, it seems that “gates of hell” are not confined to this one location: an apartment building in New York City (although that would explain all the unsavory elements that populate the streets of New York!) The souls of the damned will gather at whatever location the sentinel happens to be stationed. See, throughout history, the sentinel did not need to sit before this one window at this one apartment complex in this one city.  Perhaps in the otherworldly dimension, there is a fixed guard station as well as a stationary entrance/exit to Hell. But here on earth, the locations of these places vary throughout time.  Who knows, maybe in the heyday of the Roman Empire, the sentinel stood guard at a building in Rome with the gates of Hell nearby. Likewise, while the sentinel’s living body sits or stands at a fixed location, his/her soul is free to roam.

Most of the info above comes from Konvitz’s sequel, The Guardian. I apologize for treading into areas that belong in a separate review, but I felt it necessary to explain, as it does impact my claims stated in my first review. While the apartment building does serve as portal to another location (i.e. Hell), this “portal” is transient based on the structural layout of civilizations at any given time.

******

In my first review, I criticize the performances of the two main actors; Christina Raines (Alison Parker) and Chris Sarandon (Michael Lerman,) For Sarandon (former husband of Susan Sarandon), I lay it on thick: From the original review:

“Unfortunately, this former husband of Susan Sarandon has a lot of screen time. Too much! Large chunks of the movie revolve around him as he confers with police and priests. See, he is using his skills as a lawyer to research the haunted apartment complex and discover more about the strange blind priest. Oh God, I wish he didn’t! I found myself shouting at the TV, “Just stay out of it Mr. Mustachio Douchebag! (he dons a cheesy mustache. I don’t know if he has “that other thing”) I want to see more of the neighbors and the haunted complex and less of you and your research!”

These seniments remain. However, “the stuff” of “Mr. Mustachio’s” research and his interactions with characters outside the apartment complex are actually important to the overall story. I learned this from reading the book. However, the way the film presents all this – Meh! This will be explained in more detail in the next section: Book Vs. Movie.

THE BOOK VS. THE MOVIE

As previously mentioned, I prefer the book to the movie. I have already alluded to the whys and wherefores. Are you ready for more details that will back up my preference? But of course you are! Simply stated, the book devotes more time to certain story details than the film. In past book vs. movie articles, I defend any given film’s omission of certain plot points by citing the “200 page/2 hour reel” ratio. I invented this ratio; maybe one day I’ll be inducted into the mathematical hall of fame, I don’t know. But what I mean is that by the very nature of each medium, there is more opportunity for story and character development in a book than a film.  Films cannot be expected to cover all the information that is in a book.  But gosh darn it; the details that the film omits are important! A large chuck of the film is hard to follow, due to the sparse attention to important points. For instance:

1) The Death of the Private Eye

In the book, Farmer has connections with a shady detective (his name escapes me). Quite possibly, Farmer had hired him to kill his first wife – this is back-story. In the main story, Farmer hires her to spy on Alison. He does so, occupying in the same abandoned apartment rooms that Alison investigates when she sees her the soul of her dead father attack her. Alison stabs the spirit, but in reality she stabs and kills the private eye.

The film barely touches upon this. The film shows the private eye on the street when Alison roams the apartment rooms. Later, it shows Detective Gatz, who has it in for Farmer, finding the body of the detective in a junkyard. Viewers are left to wonder how he died, and just what in the heck his murder has to do with the story.

2) Farmer/Lerman’s Nefarious Ways/Conflict with Detective Gatz

Sure the film touches on this, but it was a soft touch. A little nudge? The book explains how Gatz had tried to bring conspiracy of murder charges on Farmer for the suspicious death of his wife, and fails miserably, embarrassing himself and his department. Now there is a new unsolved murder – the death of the Private Eye, who was, mostly likely, hired by Farmer kill his wife. But he must tread cautiously, for he does not have the backing of his superiors due to his past failures on any cases involving Farmer.

Toward the film’s end, when the ghost of Farmer/Lerman is in league with the hell-bound souls, it is explained that he is there (in Hell) on account of his attempt on the blind priest’s life. Oh but his misdeeds go way beyond that! The attack on the priest was an act of sudden rage, temporary insanity if you will. And he fails to kill him. So when watching the film, it seems odd that his violent confrontation with the blind priest has earned him this spot in hell. According to the book, he also had his wife killed, and had done other nefarious deeds. A much better telling/explanation of Farmer/Lerman’s final fate.

With all these film plot holes surrounding Farmer/Lerman, and add to that Sarandon’s poor acting skills, the parts of the movie that poorly dwell on all this, are confusing and boring. The supporting actors save this film! John Carradine as Father Halloran  Ava Gardner as Miss Logan the realtor, Arthur Kennedy as Monsignor Franchino (More on him in the next paragraph), Eli Wallach as Detective Gatz, Burgess Meredith as Charles Chazen, a.k.a. The Devil (he is the best part of the film!), Sylvia Miles and Beverly D’Angelo as the lesbians – great, great great!  Here’s some irony for ya – in the film, the neighbors try to seal our heroine’s fate to an eternity in hell. Outside of the film, it is Sarandon (Lerman) and to some extent Raines (Alison Parker) that “try their best” to drag this film “down”. But the actors that play the hellish souls are the ones that save this film and bring it “up” when things go “low”

3) Monsignor Franchino and the Protection of the Conspiracy

Arthur Kennedy has a significant amount of screen time as Monsignor Franchino, protector and facilitator of the duties and rituals involving the protection of the sentinel and the changing of the guard. A welcome presence he is, for is acting is good. However, his duties in the book go beyond his duties in the film. He is a “fixer”. In the book, he is the one that removes the body of the Private Eye from the apartment and dumps it in a trash compound. After all, one cannot have a crime scene in an apartment where the sentinel stands guard. It would ruin everything.

 4) Real Estate Transactions

The realtor that leases the apartment to Alison secretly works for the Church. When Farmer/Lerman seeks her out to question her about the hapenings in the apartment complex, he can’t find her. The Church has hidden her. This is NOT made clear in the film.

*****

A lot of film bashing going on in this article. But the truth is, I like the film. It has major flaws but the supporting actors save it.

Do I have any criticisms over the book? Minor ones. The first has to do with the overall story, both in the film and book. And it’s not really a criticism per say, more of a disclaimer. Much of the story is based on “truths” as according to the Catholic Church.  In this story, homosexuality and suicide are treated as grave sins. Those that engage in such sins are portrayed either as evil or in need of some serious redemption. The two women lovers seem to be cast to Hell on account of their same-sex relationship. This runs counter to today’s standards, where the rights of LGBTQ are being fought on a daily basis, with many successes as of late. Also, “suicide” is now perceived as an unfortunate outcome of a mental illness. It is generally not considered as an act deserving of an eternity in Hell. Remember, the film and book came out in the 70s. Perceptions were different then. Leaving aside these anachronisms, the story is still a good one.

Now here comes a minor criticism of the book: It lacks section dividers. Three paragraphs might describe the events of certain characters in the apartment complex, and all of the sudden, the fourth paragraph takes us to a new character in a new setting. This is confusing. But as a reader, I got used to this. Mostly. In the end, this style is forgivable.

THE “REAL” SENTINEL BUILDING

This article would be remiss if it didn’t cover the set location – the real apartment building that was used in the film. That building, according to OnTheSetOfNewYork , would be a Brooklyn brownstone located at 10 Montague Terrace, Brooklyn Heights, Brooklyn. The apartment was used in both exterior and interior shots.

SentinelApartment

According to 6sqft.com, there is a co-op up for sale. It can be yours for the measly price of $1.15 million. Check out the rooms!


Well, this article is coming to a close. Please check out Thorne and Cross’s Haunted Nights Live on June 28 for their interview with Jeffery Konvitz. Every Thursday night, they interview a different author. Here is the link to this week’s show:

Thorne and Cross -Haunted Nights Live with Jeffrey Konvitz

Tune in at 7:00pm Central Time!

I would like to have had written a review of Konvitz’s sequel to The Sentinel – The Guardian – before this interview, but alas, it will to come after.

Now, I wonder if “The Sentinel” is roasting in the top-floor apartment on those hot summer days. Did Father Halloran have air conditioning? It gets awfully hot in a top floor apartment.  And since he guards the gates of hell, he has other heat to contend with.So to all you apartment dwellers w/out AC, it could be worse. Be thankful you are not the sentinel. If you were, things would really get hot, hot, hot!

 

 

 

 

 

The 50th Anniversary of the Release of Rosemary’s Baby – First Review of The Haunted Apartment Series

Guess what day it is? It’s Adrian birthday. Let’s sing to him!

Happy Birthday to you! Happy Birthday to you! Happy Birthday Dear Adrian! Happy Birthday to you!

Adrian turns fifty-years-old today. Maybe you’re thinking,” Who the heck is Adrian?” Well I’ll tell you. He is the son of Satan! But he’s probably best known as Rosemary’s Baby, Adrian came into this world on June 12, 1968 through the vessel known as the movie theater. Whatever became of him? I don’t care, so I will not utter – Look What’s Happened to Rosemary’s Baby. Supposedly it is a very bad film. I haven’t seen it but I heed the critics’ warning to avoid this yarn. The original film, however, is a masterpiece. Two and a half decades since its inception and it is still one of the best horror films ever made.

(Mr. Buttinski: Psst! Technically, the events in the film take place a few years BEFORE 1968, so Adrian’s actual age would be…

Me: OH SHUT UP! )

  I have chosen this 50th birthday of Rosemary’s Baby to launch the first review of my Haunted Apartment series. (Read the opening article here.) What a great film to begin this series, if I do say so myself! I go straight, smack dab into the center of Director Roman Polanski’s Apartment Trilogy. Let me explain. Polanski  directed and helped write the screenplays for three horror films that take place within apartment complexes.  rosemarys-baby-the-dakotaRosemary’s Baby is based on the book by the same name, written by Ira Levin. Imposemagazine.com calls Rosemary’s  Baby the centerpiece of the trilogy. This makes sense, as it is the second of the three films by order of release. Also, it’s the most known, most popular, and in my humble opinion, the best. The other two, Repulsion and The Tenant, released, respectively, in 1965 and 1976, are very brilliant films as well, but it’s hard to top that “cute” little baby, even though we are only permitted to view his eyes. Before I delve into the intricacies of Rosemary’s Baby, a little more needs to be said about the trilogy itself. A paragraph ought to cover it!

The Apartment Trilogy consists of three separate films with different plots and characters. The second and third films are the not the sequels of the first. Instead, they are united by these commonalities:

  1. They detail the unfolding psychosis of a central character.
  2. They blur the protagonist’s perception of reality
  3. They feature an oppressive apartment setting that further augments the madness of the main character.

In regards to the apartment setting, Amanda Meyncke, in an article for MTV.com, writes, “Polanski masterfully  plays upon our fears of small confined  spaces, as well as our intrinsic fear of the unknown.” Truth be told, I’m not sure if Polanski set out to create an Apartment Trilogy. It seems if that term, along with all the analysis that followed, appeared long after the release of these films. Perhaps Polanski simply thrived in a setting that worked well for him and just let the creative juices flow, while the categorization came after the fact. Here at this blog, I will also explore the other two films as part of the Haunted Apartment series. But for right now, on to Rosemary’s Baby!

Here is a synopsis…and more. Urbanite couple Rosemary and Guy Woodhouse move into the Bramford apartment building, despite the misgivings of their friend Hutch, who warns them about the shady history of the building, which includes tenants that had engaged in witchcraft and cannibalism. Oh my! They barely settle in when the eccentric old couple in the apartment next door befriends them. The nosy but seemingly well-meaning couple, Minnie and Roman Castevet, learns a couple of things about the Woodhouses: 1) Guy is a struggling actor. 2) They would like to have a baby soon.

Suddenly, the plans and dreams of the Woodhouses fall into place. Guy gets a great acting gig (at the expense of another actor who goes blind and can’t perform the role) and Rosemary is pregnant. The Castevets practically micro-manage the pregnancy. In a pushy way, they recommend an obstetrician. Rosemary agrees to use him. They put her on a strange diet of herbs and milky concoctions

Rosemary is worried. Her pregnancy does not seem normal. She is in constant pain. Her skin turns sickly pale. She craves raw meat! But no one, not her neighbors, not her husband, not even the doctor will sympathize with her. They all seem to think things are “normal.” Hutch turns Rosemary on to the idea that the Castevets’ are modern day witches and that they plan to sacrifice the newborn baby. Suddenly, she believes that everyone is part of the plot; the doctor, her husband, and the neighbors – which by this time in the film there are many; more goofy, old ladies. Scared for the safety of her baby, she tries to flee everybody, including her husband. She calls everyone witches, but they catch her, sedate her. Before sedation, she goes into labor. She awakens later to sad news. The baby didn’t survive. Various neighbors look after Rosemary as she lies in bed. Meanwhile Guy blames Rosemary’s recent “erratic behavior” on pre partum hysteria. All the stuff about witches, all those conspiracies, these were all delusions brought on by hysteria. The end!

Or..is it?

Are you ready for THE SPOILER! Oh come on, you already know what’s coming!

The baby isn’t dead. Through a secret passage in a closet that connects the Woodhouse apartment to the Castevet apartment, Rosemary enters her neighbor’s domain to find her baby in a carriage surrounded by black cloth and tapestry. Demonic paintings hang on the walls. All the neighbors are there. Quirky, goofy old ladies are shouting Hail Satan! You gotta love that! The Castevet’s explain to Rosemary that she has brought the son of Satan into the world. Guy tells his wife that he helped arrange all this in exchange for a successful acting career (these Satanists put a curse on the one actor who went blind). Their son is Adrian, the son of Satan. Viewers are only permitted to see its’ eyes, scary demonic looking eyes.

What is most memorable about this film? Is  it the performances? Could be. Mia Farrow brilliantly portrays the tortured Rosemary with real emotions. It’s as if she herself is succumbing to psychological torment. Ruth Gordon as Minnie Castevet steals the scene many times. She won an Oscar for this role. She’s very entertaining, as is Sidney Blackmer as Roman Castevet. He too gives a commanding performance.

Performances aside, certain scenes have become etched in the collective conscious of audiences, scenes such as the dream sequence. One evening, Rosemary and Guy decide to get busy at making the baby. Before they do so, they eat some chocolate mousse, a treat given to them by the Castevets. Something in the dessert causes Rosemary to become ill. She lies in bed and succumbs to a dreamlike trance. She’s on a cruise ship, all the neighbors are there. She’s tied to a bed naked. Demonic arms feel her body. I’m not doing this scene justice with my description. It must be seen.  It’s very surreal and uncanny.  And it features a bunch of naked old people!  But don’t worry, the anatomical details are hidden in shadows.  Mostly.

rosemarysbabyDream

 

Anyway, when she wakes up in the morning, Guy tells her that they had made love overnight. Oh but he’s lying! It was Satan that had his way with her the following evening.No one will ever forget the end – the big twist. See, many viewers had watched this film, probably thinking that the terror was all in Rosemary’s head and that she was delusional. All that was laid to waste at the end with the old people in the apartment giving praise to Satan while babysitting the Underlord’s newborn. Surprising, scary and funny all at the same time!

There are some subtle things about this film that I enjoy. For instance, there is a reoccurring sound of a clock ticking in the Woodhouse’s apartment. Sometimes its prominent, other times it fades into the background. It adds to the tension. It signifies that something will happen by the movie’s end. We just have to wait. Tick tick tick!

rosemarysbabyApartmentBuildingFrom a cinematography stand point; I appreciate the opening sequence that shows an aerial view of a skyline of apartment buildings. The camera pans across them, and finally it settles on the one; the apartment building where the action of Rosemary’s Baby takes place. Architecturally, it’s a beautiful building. In the film it is called the Bramford Building. According to Onthesetofnewyork.com, in real life it is called the Dakota. It stands at the northwest corner of 72nd   street and Central Park West in New York City. Designed by the Architectural firm of Henry Janeway Hardenbergh and constructed in 1880, it has High gables, deep roofs, a profusion of dormers. It’s style is that of the North German Renaissance. It is the perfect building to set the scene.  For one thing, it has a haunted history. There have been many ghost sightings in and around the premises over the years. Celebrities who stayed here have witnessed paranormal events. Maury Povich described the place as “Very haunted”. John Lennon claimed to have seen a UFO while looking out one of the windows.  Tragically, Lennon would die here. He would be shot to death while standing in front of the Dakota Building. Later residents would claim to have seen his ghost within the building.

An article by Jessica Jewett provides the details:

http://jessicajewettonline.com/ghosts-of-the-dakota-building

Did Polanski know about the hauntings before using The Dakota as his establishing shot? I don’t know. But he certainly provided a fitting backdrop for the events that take place in the film.

Finally, there’s the William Castle scene. Oops, did I forget to mention that this master-of-gimmicks director produced this film? I guess I did. Known for directing films such as The House on Haunted Hill and 13 Ghosts, he teamed with Polanski to make Rosemary’s Baby the successful film that it was. And he has a cameo! He enters a phone booth after Rosemary exits. I just thought I should mention this. I don’t know why. Perhaps because I dig the late Great William Castle.

 

And so, this will wrap up this review. Adrian, Son of Satan, I don’t know where you are today. Are your sitting before a cake with fifty candles? I’m sure your daddy down in Hell could provide the flames for these candles. I’m sure he’s proud of you. Happy Fiftieth Birthday!  And to you, Rosemary’s Baby the film – Happy Birthday.  Ah but you’re a timeless film and therefore since conception, you have entered the realm of eternity. Your greatness will live forever!